Barrock (July 2010) - Progressive Rock Music Forum

The RPI scene has produced some great bands. Barrock is one of them. They are not the most known band though from the scene. That is what I want to change with this small interview.

Valter gave me the lowdown on this band.

------------------------

When was Barrock formed and do you have any background from other bands ?

Barrock was formed in 1982, we was born only for doing again something different. We liked to unite the rock to the cultured and classic music.

Whose bands were you influenced by ?

We have followed from near the jobs of BMS and PFM (Italy) but I believe to have served something different as the other groups. We don't resemble to anybody.

Please tell us more about your forming years and your debut album L'Alchimista from 1990

The first song ever to see the light was King Arthur, followed by the vampire. They were years of pioneering music in Italy still reigned dance music and punk was still alive and kicking well. The tools we used were more strictly analog synthesizers we could afford was only monophonic, did not exist the sequencer, and who wanted to play, had to really do it. Then some leave, forced to replace training with those elements that were then the final nucleus for the following years. The original saw three female solo voices, but even just before the first Japanese CD, one of the voices, Laura Ivan, left the training to concentrate on a solo career in the most reassuring and peaceful world of clubs and music softer. Curious history of the first CD in Japan. It all began with our participation in the project EXPOSURE, which was a work of the then little-known Steve Wilson, the mastermind of the now famous Porcupine Tree. In 1988 he was selected along with the Venetian Asgard, after it had sent a tape and offer participation in the famous compilation of European progressive rock. With great honesty, the contract was clear that we would not have won any money, but promised to let us know half the world, with all charges against them completely. To complete strangers like us, was certainly an acceptable proposal and ultimately quite appealing. We accepted and were then placed together with the LP Isildurs Bane and Rivendel. As promised, this release was really around the world and our track, the visionary "THE WITCH" attracted the curiosity Japanese label that distributed quell'LP SPRING SONG CORPORATION in Japan. It was a Sunday morning I received a strange phone call from a lady or oriental, asking me if I was interested to record a CD for the label of Mr. Shingo Ueno, President SPRING SONG CORPORATION Japan. I thought it was a joke, but instinctively accepted the appointment to be there a month, in the most famous of the world: the Caffè Florian in Piazza San Marco in Venice. To recognize us, I told the lady that I had the arm, the album cover EXPOSURE. I made a round of phone calls to make sure that the label actually existed and my friend Gian Felice Fugazza, then professor of electronic music at the Conservatory in Bologna and founding editor of the magazine Musical Instruments, I was advised to contact an expert in international record contracts Mr. John Christmas, today became a member of the Board and founder of the SIAE Expanded Music of Bologna. For the uninitiated Maestro Fugazza was in the seventies, even the music consultant of the company which imported the Monzino Moog in Italy and has also been a great friend of the late Bob Moog, who attended along with all the international fairs musical instruments. Signed the contract in Venice under the supervision of Christmas, recorded the work in Udine on a 16-track analog multitrack and shipped in Japan, the classic "pizza" on tape at 1 / 4 inch. The CD came up with the funny typos on the cover that cripple some Italian words, but tell us that the East was a success. Some items had been reported that record of the year in Korea, but a little messy label Japanese management prevented us to give a result. The label found itself in economic crisis and decided not to produce more new artists but to focus only on sales that were already in the catalog. The informants were chief international all'espertissimo John Christmas, we stated that despite the honesty of Mr. S. Ueno was not questioned, its distribution policy was to say the least "strange". Some friends visiting that country have told us that it was rather difficult to find even then our album in stores in Japan. The echo of that record was still strong, and it was nice to get several letters from various local and international labels that were offered as new partners for the second cd Barrock. Among the many proposals, we chose the Dutch MUSIC which offered more guarantees and was known then only to produce and distribute works of great prestige. Meanwhile, with the proceeds of the first disc we managed to equip with an 8-track analog multitrack, synchronized with SMPTE by Atari. Said about the disc was recorded at "THREE CONDOMINIUM STUDIO", a name invented, because due to a number of removals that time, we moved the equipment in the basement of three different blocks, where to make our records the species Sunday afternoon. I remember that during the sessions for recording vocals the most excited of the song "The revolt of the people", the voices were shouting in the headphones listening to the instrumental part: a neighbor rang the doorbell to make sure everything was going well and there was in implement a furious row with the risk of having to ask for assistance from the police!
The album was well distributed and enthusiastically reviewed by the press who turn up our noses just in front of the synthesizer sounds of the drums (but in a condominium that we could not rely on silent battery pad that triggers digital modules). Too bad that shortly after the release of our second CD Oxiana the label folded and the third and latest CD, we rely on our local MELLOW RECORDS which still distributes the catalog and our latest album, The Witch.

Oxian from 1994

Many tracks as "The World of Oxiana" were actually part of some soundtracks that we had written for the theater. However there are energetic songs, though perhaps the more general equilibrium tends to be descriptive. Again bad luck would have it, we pursued our Dutch label, the "YES Music" sinking into bankruptcy.

La Strega from 1999

The Witch was created by collecting many experiences that came from the late '70s, when there was a group of progressive Pordenone called Epthafonia consists of several Conservatory students who have written pages of authentic vintage progressive rock. Since I was part, I recovered the manuscripts and records of that time. I contacted the other author (Mauro Martin) tearing him from his chair and slippers, forcing him to join the SIAE and reincidere those songs written more than twenty years ago. Thus we have "mutation," "The Jester", "in the den of the witch," and "Romanza," all tracks strictly DOC The others are the result of my experiences more or less recent, such as "dream" originally an orchestral piece performed in real time by students of the conservatory orchestra of Udine.

How was the writing and creative processes in your band ?

Can I just say that every piece of Barrock is the product of a long gestation period, where every note has its precise role and its importance. And yet we try to give our execution determination and strength to live performance, as if the song was born at the time: those who have heard live have often noted the compact executive that sets us apart. Avoid instead of performing those songs live, where the atmosphere is more rarefied and difficult to assimilate. We do not want an audience that unnecessarily tiring live so expect something else, but without expecting it to be a concentration and attention that only by your home stereo you can give.

When and why did Barrock split up ?

Barrock are currently on standby, that is not in operation and even loose: simply wait for better times and offers significant to be able to move. Our machine is a heavy set in motion and progressive market does not allow us the luxury of living only with our music. Although our training is the same, waiting quietly and frequently restored confidence to go to any concert or to exchange the latest record. Anyone can contact us at http://digilander.iol.it/barrock website and leave your message.

What was your experience with the music industry and how is the availability of your albums today?

The progressive live music on a few numbers. Even we have more copies of our records to be distributed. Until we are interested in the majors, there is little hope ..

What have you been up to after the split up of Barrock ? Are you still in contact with the other ex Barrock members ?

We are always in contact and also ready to return at any stage.

Thank you to Valter and Barrock for this interview

Their PA profile is here

Their home page is here

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seventhsojourn Members Profile Send Private Message Find Members Posts Add to Buddy List Reviewer page Special Collaborator Honorary Collaborator Joined: December 11 2009 Location: . Status: Offline Points: 4006	Topic: Barrock (July 2010) Posted: July 28 2010 at 14:30
	Cheers torodd! A band that I will pay more attention to, for sure.

Finnforest Members Profile Send Private Message Find Members Posts Add to Buddy List Reviewer page Special Collaborator Honorary Collaborator Joined: February 03 2007 Location: . Status: Offline Points: 16913	Posted: July 28 2010 at 11:55
	Nice one Torodd, thanks!


toroddfuglesteg Members Profile Send Private Message Find Members Posts Add to Buddy List Reviewer page Forum Senior Member Retired Joined: March 04 2008 Location: Retirement Home Status: Offline Points: 3658	Posted: July 27 2010 at 14:33
	The RPI scene has produced some great bands. Barrock is one of them. They are not the most known band though from the scene. That is what I want to change with this small interview. Valter gave me the lowdown on this band. ------------------------ When was Barrock formed and do you have any background from other bands ? Barrock was formed in 1982, we was born only for doing again something different. We liked to unite the rock to the cultured and classic music. Whose bands were you influenced by ? We have followed from near the jobs of BMS and PFM (Italy) but I believe to have served something different as the other groups. We don't resemble to anybody. Please tell us more about your forming years and your debut album L'Alchimista from 1990 The first song ever to see the light was King Arthur, followed by the vampire. They were years of pioneering music in Italy still reigned dance music and punk was still alive and kicking well. The tools we used were more strictly analog synthesizers we could afford was only monophonic, did not exist the sequencer, and who wanted to play, had to really do it. Then some leave, forced to replace training with those elements that were then the final nucleus for the following years. The original saw three female solo voices, but even just before the first Japanese CD, one of the voices, Laura Ivan, left the training to concentrate on a solo career in the most reassuring and peaceful world of clubs and music softer. Curious history of the first CD in Japan. It all began with our participation in the project EXPOSURE, which was a work of the then little-known Steve Wilson, the mastermind of the now famous Porcupine Tree. In 1988 he was selected along with the Venetian Asgard, after it had sent a tape and offer participation in the famous compilation of European progressive rock. With great honesty, the contract was clear that we would not have won any money, but promised to let us know half the world, with all charges against them completely. To complete strangers like us, was certainly an acceptable proposal and ultimately quite appealing. We accepted and were then placed together with the LP Isildurs Bane and Rivendel. As promised, this release was really around the world and our track, the visionary "THE WITCH" attracted the curiosity Japanese label that distributed quell'LP SPRING SONG CORPORATION in Japan. It was a Sunday morning I received a strange phone call from a lady or oriental, asking me if I was interested to record a CD for the label of Mr. Shingo Ueno, President SPRING SONG CORPORATION Japan. I thought it was a joke, but instinctively accepted the appointment to be there a month, in the most famous of the world: the Caffè Florian in Piazza San Marco in Venice. To recognize us, I told the lady that I had the arm, the album cover EXPOSURE. I made a round of phone calls to make sure that the label actually existed and my friend Gian Felice Fugazza, then professor of electronic music at the Conservatory in Bologna and founding editor of the magazine Musical Instruments, I was advised to contact an expert in international record contracts Mr. John Christmas, today became a member of the Board and founder of the SIAE Expanded Music of Bologna. For the uninitiated Maestro Fugazza was in the seventies, even the music consultant of the company which imported the Monzino Moog in Italy and has also been a great friend of the late Bob Moog, who attended along with all the international fairs musical instruments. Signed the contract in Venice under the supervision of Christmas, recorded the work in Udine on a 16-track analog multitrack and shipped in Japan, the classic "pizza" on tape at 1 / 4 inch. The CD came up with the funny typos on the cover that cripple some Italian words, but tell us that the East was a success. Some items had been reported that record of the year in Korea, but a little messy label Japanese management prevented us to give a result. The label found itself in economic crisis and decided not to produce more new artists but to focus only on sales that were already in the catalog. The informants were chief international all'espertissimo John Christmas, we stated that despite the honesty of Mr. S. Ueno was not questioned, its distribution policy was to say the least "strange". Some friends visiting that country have told us that it was rather difficult to find even then our album in stores in Japan. The echo of that record was still strong, and it was nice to get several letters from various local and international labels that were offered as new partners for the second cd Barrock. Among the many proposals, we chose the Dutch MUSIC which offered more guarantees and was known then only to produce and distribute works of great prestige. Meanwhile, with the proceeds of the first disc we managed to equip with an 8-track analog multitrack, synchronized with SMPTE by Atari. Said about the disc was recorded at "THREE CONDOMINIUM STUDIO", a name invented, because due to a number of removals that time, we moved the equipment in the basement of three different blocks, where to make our records the species Sunday afternoon. I remember that during the sessions for recording vocals the most excited of the song "The revolt of the people", the voices were shouting in the headphones listening to the instrumental part: a neighbor rang the doorbell to make sure everything was going well and there was in implement a furious row with the risk of having to ask for assistance from the police! The album was well distributed and enthusiastically reviewed by the press who turn up our noses just in front of the synthesizer sounds of the drums (but in a condominium that we could not rely on silent battery pad that triggers digital modules). Too bad that shortly after the release of our second CD Oxiana the label folded and the third and latest CD, we rely on our local MELLOW RECORDS which still distributes the catalog and our latest album, The Witch. Oxian from 1994 Many tracks as "The World of Oxiana" were actually part of some soundtracks that we had written for the theater. However there are energetic songs, though perhaps the more general equilibrium tends to be descriptive. Again bad luck would have it, we pursued our Dutch label, the "YES Music" sinking into bankruptcy. La Strega from 1999 The Witch was created by collecting many experiences that came from the late '70s, when there was a group of progressive Pordenone called Epthafonia consists of several Conservatory students who have written pages of authentic vintage progressive rock. Since I was part, I recovered the manuscripts and records of that time. I contacted the other author (Mauro Martin) tearing him from his chair and slippers, forcing him to join the SIAE and reincidere those songs written more than twenty years ago. Thus we have "mutation," "The Jester", "in the den of the witch," and "Romanza," all tracks strictly DOC The others are the result of my experiences more or less recent, such as "dream" originally an orchestral piece performed in real time by students of the conservatory orchestra of Udine. How was the writing and creative processes in your band ? Can I just say that every piece of Barrock is the product of a long gestation period, where every note has its precise role and its importance. And yet we try to give our execution determination and strength to live performance, as if the song was born at the time: those who have heard live have often noted the compact executive that sets us apart. Avoid instead of performing those songs live, where the atmosphere is more rarefied and difficult to assimilate. We do not want an audience that unnecessarily tiring live so expect something else, but without expecting it to be a concentration and attention that only by your home stereo you can give. When and why did Barrock split up ? Barrock are currently on standby, that is not in operation and even loose: simply wait for better times and offers significant to be able to move. Our machine is a heavy set in motion and progressive market does not allow us the luxury of living only with our music. Although our training is the same, waiting quietly and frequently restored confidence to go to any concert or to exchange the latest record. Anyone can contact us at http://digilander.iol.it/barrock website and leave your message. What was your experience with the music industry and how is the availability of your albums today? The progressive live music on a few numbers. Even we have more copies of our records to be distributed. Until we are interested in the majors, there is little hope .. What have you been up to after the split up of Barrock ? Are you still in contact with the other ex Barrock members ? We are always in contact and also ready to return at any stage. Thank you to Valter and Barrock for this interview Their PA profile is here Their home page is here